As contemporary art continues to evolve the gallery space has become as important as the pieces themselves in helping an artist guide the viewer through the world they have feverishly perfected. The recent obsession with ‘pop-up’ spaces that continue to sprawl across London has lead to some interesting experiments in art curation, but also a worrying swarm of gallery spaces existing just to buy into the lucrative industry.
The CNB gallery is a curious concept, located in a former Victorian tramshed beneath another of chef and restaurateur Mark Hix’s ventures. On paper the idea of combining food that has strongly aesthetic qualities with contemporary art has potential. The basement gallery, a dimly lit room with concrete walls spruced up with a lick of paint, sits awkwardly underneath the dining area. I felt like an intruder creeping down the stairs past the staff room and stumbling into the empty, incredibly dreary room. The opening blurb described the ‘intense deep blue’ walls as ‘lending the photographs an environment evocative of a journey to another place’, which reading back now sounds just as ridiculous as when first read. The whole place was a bizarre set-up and felt completely disconnected from the low hum of the diners above. However, a first glance at Peter Newman’s photographs transported me out of the shadowy basement and into the vivid landscapes. The choice of images in fact revealed a clear appreciation of contemporary art first hidden by the underwhelming space.
Eden Project, Cornwall 2015
Subterranean Blues comprises of eight large-scale chromographic prints, forming part of Newman’s Metropoly project. Newman uses his photographs to examine a broad spectrum of architecture from across the globe, featuring recognisable scenes including the Eden Project and La Defense in Paris. The composition of spherical images sitting against pitch-black gives the impression that the image is floating, as if momentarily suspended in a dark abyss. The effect is an interesting twist on the traditional ‘cityscape’ as Newman plays with perspective to explore how our physical relationship to the world relies heavily on searching for vantage points, where all elements combine to form a full landscape. It is hard not to find yourself becoming a struggling voyeur absorbed in each scene as your eyes dart around the photo in an attempt to find a familiar source of perspective. The periscopic vista in each image is achieved through the use of panoptic lens that creates a sense of claustrophobia as the structures loom over you, distorting your sense of reality. Newman’s clear mastery of traditional elements of photography allows him to manipulate the medium and instil modernity through the provocative view captured. It could be said that the subdued room was merely the bare bones to which Newman’s work added the flesh, but I couldn’t escape the feeling that the vibrant photographs deserved more room to flourish.
Located at the CNB Gallery underneath Hix’s Tramshed, Shoreditch.
32 Rivington Street, London, EC2A 3LX
24 November – 14 February
www.cnbgallery.com